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EG540SSC

6 String Acoustic/Electric - DISCONTINUED Specifications Top Solid Spruce Back Nato Sides Nato Finger Board Rosewood Electronics TK40 Finish Gloss Natural NEX Body This original Takamine body is a scaled-down Jumbo at heart. The NEX has a silky balance to the tone that supports vocals beautifully.

Tri-amplified 3-way • 260 watts of power per monitor • Frequency Response: 45 Hz–40 kHz • MAX SPL: Continuous 101dB • Ported speaker design • 6.5″ aluminum cone woofer • 3.5″ aluminum cone midrange • 1″ ring radiator tweeter

• MEME™ Technology Voice Emulation • SPOC™ Technology • Dimensions 13.25″ H x 9″ W x 9.25″ D • $1,995.00 USD (pair) THE STORY The saga continues as Barefoot Sound introduces the latest edition of the highly acclaimed Footprint series. Say hello to the Footprint03 – this tri-amplified 3-way studio monitor maintains the exceptional audio quality and design characteristics of its predecessors, the Footprint01 and Footprint02, all while offering a more compact design and an affordable price. Departing from the traditional sealed cabinet design, the Footprint03 embraces a fast transient ported speaker design, achieving remarkable low-end extension while upholding Barefoot’s renowned standards in cabinet construction. The cabinet’s Footprint Gray polyester coating, stress assembly techniques, and substantial weight contribute to stability and damping, combatting potential vibrations for an unparalleled listening experience.

Delving into the heart of the Footprint03’s innovation, the speaker boasts a 1″ ring radiator tweeter, a 3.5″ midrange driver with an aluminum cone, and a forward-facing 6.5″ aluminum cone woofer, each meticulously designed to enhance audio fidelity. The incorporation of advanced magnet and motor systems, copper shorting rings, and an improved heat-sink system ensure minimal distortion, longer excursion capabilities, and reliable performance even during extended use. The introduction of SPOC™ (Spectrally Optimized Conversion) technology and a groundbreaking Digital Signal Processor (DSP) further elevate the audio experience, providing higher resolution, reduced latency, and optimized frequency response for audiophiles and professionals alike. Barefoot’s MEME™ Technology adds another layer of versatility, allowing seamless integration into various applications, making the Footprint03 a true powerhouse in studio monitoring in a small package.

DESIGN The goal at Barefoot Sound has always been to push the design limits of what is possible in a compact studio monitor. The Footprint03 is no exception; we are proud to introduce many new innovations in this model as well.

PORTED Barefoot Sound, known for its sealed cabinets, proves its versatility with the introduction of a side-firing ported speaker design. Embracing this fast transient bass reflex system, they achieve remarkable low-end extension while maintaining Barefoot’s renowned standards in cabinet construction, comparable to their other acclaimed sealed cabinet designs.

CABINET The cabinet boasts the well-known Footprint Gray polyester coating with its signature textured finish and is meticulously constructed using Medium-Density Fiberboard (MDF). Employing stress assembly techniques to enhance stability and damping, these cabinets are in line with the exceptional standards of all other Barefoot monitors. Their substantial weight further aids in combating any potential cabinet vibrations.

MOUNTING Achieving the optimal multi-channel studio setup is effortless with Footprint03 monitors, thanks to their seamless integration with premium mounting solutions from Triad-Orbit or König & Meyer. These monitors, ideal for compact Atmos mixing rooms, provide unparalleled audio precision and quality, enhancing the acoustic experience in smaller studios while ensuring easy and versatile installation.

Footprint03 Mount DRIVERS & AMPS

TWEETER The new 1″ ring radiator tweeter design boasts a more powerful magnet and motor system, resulting in longer excursion capabilities, increased volume output, and reduced compression for a truly dynamic and captivating audio performance. To ensure consistent peak performance, an improved heat-sink system has been integrated, effectively regulating operating temperatures during extended use. Additionally, the addition of more copper shorting rings around the voice coil serves to eliminate distortion, delivering a pristine and accurate sound reproduction. The tweeter’s diaphragm is crafted from a high-quality fabric ring radiator material, while its housing adopts a sturdy aluminum enclosure and a solid aluminum face plug for superior rigidity and resonance control. Further enhancing its capabilities, the new tweeter incorporates Neodymium technology, culminating in a harmonious blend of precision, clarity, and unparalleled fidelity in high-frequency sound reproduction..

MIDRANGE The Footprint03 3.5″ midrange driver utilizes an aluminum cone, further contributing to the driver’s rigidity and resonance control, thus enhancing the overall audio fidelity. The inclusion of a larger, high-sensitivity power motor and additional copper shorting rings around the voice coil effectively minimizes harmonic distortion, resulting in pristine and accurate sound reproduction. The driver’s advanced magnet and motor system, combined with its longer excursion capability, enable it to achieve higher volumes while maintaining minimal compression. Moreover, an improved heat-sink system ensures reliable performance even during prolonged use

WOOFER The Footprint03 forward-facing 6.5″ aluminum cone woofer is driven by a robust 100W amplifier in each monitor, ensuring powerful and accurate bass reproduction. Its larger, high-sensitivity power motor, combined with additional copper shorting rings around the voice coil, effectively minimizes harmonic distortion, delivering pristine and accurate sound reproduction. With a more potent magnet and motor system, the new woofer design achieves longer excursion capabilities, resulting in louder and less compressed sound output. An improved heat-sink system ensures reliable performance even during extended usage, further solidifying the woofer’s durability and dependability.

AMPLIFIERS The Footprint03 features three Class D amplifier modules, each dedicated to a specific driver. The tweeter channel has a 60-watt amplifier, while midrange and woofer drivers are supported by separate 100-watt amplifiers. The amplifiers maintain a total harmonic distortion (THD) of less than 0.005% when delivering maximum power. This configuration ensures a well-balanced, powerful audio performance, optimizing signal levels for each driver and facilitating optimal sound reproduction.

NEW TECH SPOC Spectrally Optimized Conversion Logo

INTRODUCING SPOC™ SPOC™ (SPectrally Optimized Conversion) is introduced to the audio world through the Footprint03. The new Barefoot patented technology incorporates an analog crossover section prior to the analog-to-digital conversion, allowing us to pass the high frequencies into the converter unattenuated. This yields 5-bit higher resolution or a 15 dB signal-to-noise ratio. Exclusive to monitors featuring SpOC, this technology achieves a more transparent signal not found in any other monitor in its class.

DSP The Barefoot Sound Digital Signal Processor (DSP) in the Footprint03 is at the heart of this cutting-edge technology. DSPs play a critical role in enhancing and optimizing audio signals, elevating the listening experience to unparalleled heights. With a remarkable latency of an impressive 3 ms, this DSP ensures a near-instantaneous response, eliminating any perceptible delay for seamless audio reproduction. By optimizing the drive level, the DSP enhances the low-end frequency response, delivering deeper and more impactful bass. Additionally, distortion is significantly reduced, allowing for enhanced clarity and sonic accuracy. This enables audiophiles and professionals alike to experience every nuance of the sound with pristine detail.

MEME™ MEME Technology Controller

MEME™ TECHNOLOGY Barefoot Sound’s Multi-Emphasis Monitor Emulation™ technology (MEME) elevates the adaptability of the Footprint03, enabling it to seamlessly integrate into a wide array of applications, including playback rooms, mobile setups, homes, and production environments. MEME provides authentic emulations that faithfully model the performance and unique character of mix cube speakers, the renowned white coned speakers we are all familiar with, and consumer hi-fi speakers. This empowers the mixer with the convenience to effortlessly switch between these iconic monitors for reference purposes.

TECH SPECS Footprint03 Owner’s Manual – PDF Description: Tri-amplified 3-way studio monitor with MEME™ Technology Controls: Input level stepped attenuator, MEME™ voice select Analog Input: XLR female, Pin 1 ground, Pin 2 positive, Pin 3 negative TRS Male, Tip: Positive, Ring: Negative, Sleeve: Ground Input Impedance = 20k Ohms Input Sensitivity (1m) = 90 dB @ -15 dBV (pass band) Analog to Digital Conversion: Word Length: 28-bit (56-bit High Precision) Sample Rate: 96 kHz Signal/Noise ≥ 100 dB Frequency Response: 45 Hz–40 kHz (+/-3 dB), 50 Hz–22 kHz (+/- 1 dB ) Bass Response: -3 dB @ 46 Hz Q = 0.707 Slope = 18 dB/octave MAX SPL: Continuous 101 dB Cabinet: 10.5 liters total internal volume Solid aluminum baffle plate Polyurethane acoustic damping throughout Crossover Frequencies: 400 / 3900 Hz (Active crossover between drivers) Tweeter: 1″ ring radiator, low distortion motor, rear waveguide chamber. Amplifier: 60W Midrange: 3.5″ aluminum cone, Low distortion motor +/- 3.5 mm linear excursion Amplifier: 100W Woofers: 6.5″ aluminum cone with low distortion motor +/- 9.5 mm linear excursion. Amplifier: 100W HF Amplifier: 60W MF Amplifier: 100W LF Amplifier: 100W Power: Mains Voltage Input: 85 VAC to 265 VAC universal Idle Power Consumption = 12W Maximum Power Consumption = 340W Weight: Speaker: 17.9 lbs each (8.1 kg) Dimensions HxWxD: 9″ x 13.25″ x 9.25″ (229 x 337 x 235 mm)

THE ELECTRIC LIGHTNING - Chris Buck Signature Valve Overdrive After multiple years of development and a solid year of road testing and we are here, the worst kept secret in the pedal world is now revealed. ThorpyFx and Chris Buck have collaborated to deliver a signature Valve overdrive and Boost. Designed with Chris in mind, the ELECTRIC LIGHTNING delivers a dynamic overdrive that retains clarity and articulation all the way up to the upper reaches of the gain pot. The drive is equipped with a 3 band EQ for control over the tonality no matter what amp/guitar combo you use. The boost is a familiar high headroom boost but tailored to Chris’s needs it can be used to fatten up cleans or give extra saturation to the valve overdrive section.

Unlike many other signature products, the ELECTRIC LIGHTNING is designed specifically not to be a “one trick pony” Both Chris and Thorpy wanted it to be an awesome effect pedal regardless of your playing style and as such, you can craft the ELECTRIC LIGHTNING to your style for maximum satisfaction. Enjoy!! Size: (W)100mm x(L)125mm x(H)53mm. Power: 12 V centre Negative 2.1mm barrel Current Draw - 750mA on power up, settling to 300mA Adaptor Included: we supply a 12V adaptor to allow you to power your pedal with adaptable input for use in UK, EU, USA, Australia.

A simple to use but absolutely killer dual overdrive pedal that has two distinct voices that you have to hear.. one voiced by Novo and one by Mythos. Each side can be used individually or combined. With this many great minds on a product, you know it's going to be awesome. Mythos Pedals & Novo Guitars Air Lane Drive Dual Overdrive - Really Red A Special Collaboration With Novo Guitars A simple to use but absolutely killer dual overdrive pedal that has two distinct voices that you have to hear.. one voiced by Novo and one by Mythos. Each side can be used individually or combined. With this many great minds on a product, you know it's going to be awesome.

The two sides of the pedal are called Suite 8 and Suite 9. For those who love simplicity, each side has a gain control and... nothing else! Inside the pedal there is a master volume trimmer for each side, should you want to fiddle with balancing the drives differently.

Both are the same circuit, based around a single transistor topology and featuring hard-clipping diode arrangements that just stack fantastically. There are loads of ways to use the pedal - have it set for two different levels of boost, two different drives or a combo of both.

The side voiced by Novo is a medium level overdrive with a full low-end and sparkling trebles. It's really lovely. Asymmetrical clipping was chosen to keep things smooth and with amp-like compression. The Mythos side is higher on the aggression-scale, with a trimmed off bass end, symmetrical clipping and a NOS Germanium diode for extra hair and bite. It sounds really ripping when you bring the drive up. As always with Mythos Pedals (and indeed Novo Guitars), all the components, jacks and pots are high-quality and designed to not let you down. This brilliant pedal is available for the first time outside of the USA and features an exclusive new colour, fittingly called Really Red. No prizes for guessing why! In 2021 Mythos Pedals began sharing a space with Novo Guitars in Nashville, TN. For the uninitiated Novo Guitars are the brain child of Dennis Fano and are some of the best guitar being produced today. When Dennis and Matthew Timmons began talking to us about their desire to make a pedal named after the street we’re on, I got to work crafting something that would live up to the Novo reputation. The Air Lane Drive is stripped down dual overdrive, it’s two independent sides, SUITE 8 and SUITE 9, are the same circuit that have been tweaked for our individual tastes. The MORE! and EVEN MORE! knobs only control the gain of each side of the pedal, but internally there is a set and forget master volume trimmer for each side. The gain circuit(s) in the Air Lane Drive are based around a single transistor topology. Each side features hard clipping diode arrangements that stack beautifully, yet never get in the way of your playing. Each side is independent and can be used alone or together with SUITE 9 feeding into SUITE 8. We opted for this configuration so that the signal would always feel balanced and natural. There is no shortage of tones to be had from the Air Lane Drive, you can get a double booster, use one side as a drive with the other as a boost, vice versa, or just crank the gain on both sides and pummel all who oppose you.

SUITE 8, the Novo side, is a medium gain boost/drive with nice full bass and a present top end. SUITE 8 features Asymmetrical clipping for a nice smooth feel that has an amp liken compression. SUITE 9, the Mythos side, features a slightly more aggressive feel, a slight bass cut, and smoother top end overall. SUITE 9 has a Symmetrical clipping arrangement with a NOS Germanium diode that makes the edge of the note and attack a little more hairy. Lastly, you may be asking yourself why the tower and airplane on the artwork? Well, our parking lot has as huge tower in it and we’re near the airport so planes are constantly overhead! A neat little nod to where we build guitars and pedals! Every batch of the Air Lane Drive will feature a different color way. Batch #1 will be a lovely sky blue and is limited to 200 pieces. MORE! and EVEN MORE! Gain controls Dual internal Master Volume trimmers True Bypass Switching WIMA Caps & Carbon Comp Resistors Through Hole Construction Top quality jacks, switch, and pots DF Approved! Approx. 20mA Current Draw

Firefly Guitars: Ignite Your Sound. Firefly crafts electric guitars that fuse exceptional playability with electrifying sound. Known for vibrant tones and striking designs, each Firefly guitar is built to inspire musicians at every level to explore their unique style and unleash their inner fire. Top Material Type Mahogany Wood Body Material Mahogany Back Material Type Mahogany Wood Neck Material Type Maple Fretboard Material Type Rosewood Guitar Pickup Configuration H-H String Material Type Nickel Hand Orientation Right Item Weight 11.43 pounds Item model number FFLX Customer Reviews 4.5 4.5 out of 5 stars 99 ratings Back Material Mahogany Wood Body Material Mahogany Fretboard Material Rosewood Guitar Pickup Configuration H-H String Material Nickel Top Material Mahogany Wood Neck Material Type Maple Number of Strings 6 Guitar Bridge System Tune-O-Matic

This is a complete recreation of the Fairlight CMI IIx. This has all the features of the original Fairlight CMI including 16 stereo voices, full voice editing and realtime control, harmonic additive synthesis, full Page R sequencer and much more. Launched 1 year ago the 1.29g is the biggest update. which focusses on much better IIx import of voices, songs and instruments. Better III multisample .vc support. III style button bar and lots of UI improvements throughout. A new internal song system that matches the IIx, plus individual output mixing. New Midi keyboard allocation with PAGE 3, and soo much more... QasarBeach has also gained features that were planned for the IIx but not implemented (at the time) - many thanks for help and input from the original engineers and friends ! You get full file support for Fairlight Series I, II, IIx, III samples, including all loop points, filter settings, etc, plus new III multisample support. You just need to have the ORIGINAL files in .VC format.

IIx files .rs and .in are also suported

Plus you get the following formats as pure samples, so editing may be needed, but it gives you the power to access virtually all famous sample libraries from Emu, Yamaha, Korg and more:

.wav / .aif .ogg / .sam .afs - casio cz1 sample .ksf -korg-sample-file oasis .msmpl_bank -korg microsampler bank .p3k - korg .usr - ppg .ufs - ppg .xoe, .x0v .x0a .x0s .x0w .x3v .x3a .x3s .x3w - yamaha motif .t01 .t02 .t03 .t04 .t05 - yamaha .krz .kr1 .kr2 .kr3 .kr4 .kr5 .kr6 -kerzweil .sf2 -soundfont2 .akai .img - akai img .256 -amiga 8bit single waveforms .xi -amiga fasttracker 2 .8svx .16sv .iff - amiga 8 bit / 16bit .em2 .eb2 .ez2 .e4b -emulator emax 2 library .ebl -emulator x .dms -emu2 .eii -emu2 .em1 .eb1 -emulator 1
.iso -emulator iso .out .s50 .w30 -roland s50 .bin - 8 bit binary files used by LINN and EMU for drum machine ROM You will need to download all three files, especially the Guide which will tell you all about the very basic operations of QasarBeach. The Fairlight CMI was a professional and complex machine, QasarBeach in no way tries to obscure this operation. So the UI is the same, the operation is the same, but there have been additions to make it a bit more user friendly. If you've ever wanted to have a go at your own music and want to know how The Art Of Noise, Kate Bush, Peter Gabriel, OMD, Yes, Hans Zimmer (and many many more) accomplished this in the 80's - QasarBeach is (almost) the way they did it!

The D-250 Digital Delay System by Advanced Audio Designs from the 80ties.

The D-250 Digital Delay System by Advanced Audio Designs from the 80ties as a Rack Mount. Comes with a Regeneration and control Oscillartor.

The D-250 Digital Delay System by Advanced Audio Designs from the 80ties.

The Tube Works Mosvalve RT-2100R Rack Mount Amp Head by BK Butler Audio 100 Watts of Power. Real tube reverb. Fantastic clean and overdrive tones. High quality US made Amp. Continuous anti-feedback circuitry eliminates over 60% of the typical “squeal" or HF screech apparent in many amps. This allows higher volume levels at closer proximity to the cabinet, as well as a much "fatter" sound in close quarters. 4-Stage TUBE preamp section. Tubes are individually hand and ear-checked for low microphonics and hum. We reject over 50% of the tubes we receive from our suppliers. DC filament operation of preamp tubes to eliminate the common tube hum caused by conventional (and cheaper) AC designs. Lower plate voltages insure greatly extended tube life. BK Butler is the pioneer of low-voltage designs for vacuum tubes. Tubes typically will not have to be replaced for 2-3 years under normal conditions. Continuous anti-feedback circuitry eliminates over 60% of the typical “squeal" or HF screech apparent in many amps. This allows higher volume levels at closer proximity to the cabinet, as well as a much "fatter" sound in close quarters. Two channel operation plus a foot-switchable "stack" function in Channel 1 gives versatility of 3 channels Separate EQ sections for each channel. Channel 1 features a radically expanded range for overdrive incor-porating true active response with passive musical tonality. MosValve power section. Identical to a single channel of our famous "RT-962" rack-mount MosValve power amplifier. Since its introduction MosValve has become the new standard of musicality by which all other amps beg to be judged. Front panel "Mix" control allows mixing of processed signal ("wet") from the input of the effects loop and the original ("dry") pre-effect signal. This type of signal mixing is usually done via an outboard mixing console and adds dramatically to the flexibility of effects use. Variable send-receive effects loop. Easily adjusts to virtually any signal level of floor or rack-mount device on the market regardless of input/output impedance. MosValve powered full-sized Accutronics® spring reverb system actually driven by a separate onboard 15 watt MosValve power amp. This reverb system is the closest thing to the classic Fender™ style reverbs from the past and utilizes the same specs and reverb tank. CHANNEL SWITCH — Selects either Drive (Red LED) or, Clean (Green LED) channels. Switch is bypassed and inoperative when footswitch plug is inserted into either, footswitch jack on the rear panel. INPUTS — Input 1: 0 dB. - Most sensitive input. Input 2: -8 dB. - Less sensitive input for Steel guitars and ex- tra-high output pickups. NOTE: Inputs have true active summing, therefore two guitars of any impedance may be summed together by using both inputs. It is also possible to use a "Y" cord to give even more gain. (Single guitar Y-ed into the two inputs). DRIVE CONTROL — Controls gain of tube #1. Tube #1 is biased for a thinner, articulate Tube Driver-like tone reminiscent of British amps. At control settings lower than 3, tube #1 becomes virtually clean allowing the Stack control to completely control the overdrive level through tube #2. STACK CONTROL — Controls gain of tube # 2. Tube #2 is biased in a more "Blue Tube" manner. Those knowl- edgeable with the famous Tube Works model 922 and 924 rack-mount will hear a lot of familiar tones as this control is added. As you add more "stack" the sound will become fatter and fatter. This is of great help when practicing at lower volume levels to maintain a well-balanced tone. NOTE. This control is switchable via the back-panel footswitch jack labeled "2". The footswitch will switch between the "0" setting to whatever level you preset the Stack control to. This adds 3rd channel capability to your amp. Hi, MID, LO — Drive channel EQ. This is an entirely new concept for combo amplifiers. Each control is a sepa- rate passive filter summed actively into the (also) active, Master volume. This configuration adds great flexibility and much expanded range over conventional passive designs and prevents any crosstalk into the clean channel when overdrive is switched off. Inter-control loading is greatly reduced as well. NOTE: Frequencies: Hi ALL HAVE PASSIVE ROLL-OFF CHARACTERISTICS. MASTER — Active master volume control for the Drive channel. No leakage of signal is present with this master at 0. This insures good definition at the ultra-high gain levels this preamp is capable of with its Stack configura- tion. VOLUME — Clean channel gain. This channel is also capable of classic overdrive with the use of its master control. MASTER — Master volume for Clean (Green) channel. HI, MID, LOW — Classic Tube Works passive EQ. This EQ is identical to the Channel 2 EQ section round in the Tube Works 922/924 Rack-Mounts. Warmth and tone are the key emphasis for this EQ. Frequencies: Hi ALL HAVE PASSIVE ROLL-OFF CHARACTERISTICS. EFFECTS MIX — This control mixes the signal present at the "Effects In" Jack on the rear panel. Rotating the control towards "Wet" mixes more and more of the effect's sound while "Dry" mixes more of the pre-effect signal. NOTE: This control functions ONLY when there is a plug inserted into the "Effects Return" jack. REVERB — Adds desired reverb intensity. Reverb is switchable when using Footswitch jack #1

Introducing the Tube Works BK Butler Real Tube, a classic piece of musical gear that has stood the test of time. This overdrive effects pedal, hailing from the '80s, is as user-friendly as it is vintage. With its intelligently designed layout featuring five control knobs, it offers musicians the ability to shape their sound with precision. This pedal has been the secret weapon for famed guitarists like J Mascis and continues to be a sought-after gem for its output and drive controls as well as high, mid, and low boosts.

Key Features:

• User-friendly layout with five control knobs
• Capable of shaping sound with precision
• Output and drive knobs for tone control
• High, mid, and low boost controls for sound variation
• Vintage design from the '80s
• Favoured by renowned guitarists

Introducing the Tube Works BK Butler Real Tube, a classic piece of musical gear that has stood the test of time. This overdrive effects pedal, hailing from the '80s, is as user-friendly as it is vintage. With its intelligently designed layout featuring five control knobs, it offers musicians the ability to shape their sound with precision. This pedal has been the secret weapon for famed guitarists like J Mascis and continues to be a sought-after gem for its output and drive controls as well as high, mid, and low boosts.

Key Features:

• User-friendly layout with five control knobs
• Capable of shaping sound with precision
• Output and drive knobs for tone control
• High, mid, and low boost controls for sound variation
• Vintage design from the '80s
• Favoured by renowned guitarists

The Alude by Barullo FX is a Russian Muff style Fuzz After some batches of prototyping and tone tuning, here is the pedal where it all begins, yes, is another fuzz!! yes is also based in the russian mig buff, but this one will not destroy your mids and low end, and with 3 clipping options and the small footprint with top mount jacks is your best bet for sludge tones in your pedalboard.

CONTROLS: Gain: Controls the gain of the fuzz circuit, from a light overdrive at its lowest setting to a heavy clipped fuzz signal. Tone: Specialy dialed filter from bass sludge to the left to screaming highs to the right. Voice: This selector switch allows for different clipping diodes. Silicon for raspier fuzz with faster transients, no clipping in the middle position for less clipping and more volume and Germanium for a warmer sound. Volume: Controls the overall output level.

Dimensions: 66 mm wide , 125 mm high Current Draw: 4 mA / 9 V DC / Negative Center

The Supro Ranchero Sunburst from the 60ties Body Material: Mahogany Body Details: Mahogany back and sides with spruce top Neck Material: Mahogany Fingerboard Material: Pau Ferro Neck Profile: C Neck Thickness (IN): 1st fret 0.836", 10th fret 0.925" Fingerboard Radius: 12.00" Nut Width: 1-11/16" Scale Length: 24 3/4" Neck Details: Mahogany neck with Pau Ferro fretboard Electronics: Original; single humbucker, volume, tone Pickup Measurements: 8.41 Weight: 6lbs 4oz

The Vox V9169 Cambridge 15 Amplifier The Cambridge 15 is a small hybrid 1x8" 15 watt combo amp that was introduced by Vox in 1999. It has all the Vox cosmetics right, including gold string in the cabinet sides, top, and bottom. Later Vox models in the low to mid price range would drop this cosmetic touch. This was also one of the the first amps that Korg/Vox produced in significant numbers with black Vox grill, as were the original Thomas Vox Cambridge amps from 1965-1969. The Cambridge 15 has one 12AX7 tube in the preamp section. This tube adds both warmth and natural compression to the tone of a guitar. In addition to Volume, Treble, Bass, and Tremolo Controls, the Cambridge 15 has both Gain Boost and MRB (mid range boost) push button switches. Like several other small Vox amps produced in Korg/Vox in this era, this amp did not include reverb. An 8" special design Celestion "Bulldog" speaker is mounted inside an open backed cabinet. A "Valve Power - Celestion" nameplate adorns the lower right corner of the grill. An optional VFS2 footswitch allowed the Gain Boost and Tremolo functions to be accessed remotely.

The V9169 was discontinued by 2002. V9169 Cambridge 15 Amp 15" x 14" x 7"
Weight: 19 lbs.

This is a Japanese Traditional Hand Made Shakuhachi in the Key of A , from the Tozan school The Shakuhachi is a Japanese longitudinal, end-blown flute that is made of bamboo. The bamboo end-blown flute now known as the shakuhachi was developed in Japan in the 16th century and is called the fuke shakuhachi 普化尺八 Shakuhachi are usually made from the root end of madake (Phyllostachys bambusoides) bamboo culm and are extremely versatile instruments. Professional players can produce virtually any pitch they wish from the instrument, and play a wide repertoire of original Zen music, ensemble music with koto, biwa, and shamisen, folk music, jazz, and other modern pieces. Much of the shakuhachi's subtlety (and player's skill) lies in its rich tone colouring, and the ability for its variation. Different fingerings, embouchures and amounts of meri/kari can produce notes of the same pitch, but with subtle or dramatic differences in the tone colouring. Holes can be covered partially and pitch varied subtly or substantially by changing the blowing angle. The Honkyoku pieces rely heavily on this aspect of the instrument to enhance their subtlety and depth. Unlike a recorder, where the player blows into a duct—a narrow airway over a block which is called a "fipple"—and thus has limited pitch control, the shakuhachi player blows as one would blow across the top of an empty bottle (though the shakuhachi has a sharp edge to blow against called utaguchi) and therefore has substantial pitch control. The term utaguchi 歌口 literally translates as "to the mouth that sings", referring to the upper and main hole of the flute where the mouthpiece or blowing edge is created by a natural diagonal cut in the bamboo

This is a Japanese Traditional Hand Made Shakuhachi in the Key of A , from the Tozan school.

The Shakuhachi is a Japanese longitudinal, end-blown flute that is made of bamboo. The bamboo end-blown flute now known as the shakuhachi was developed in Japan in the 16th century and is called the fuke shakuhachi 普化尺八 Shakuhachi are usually made from the root end of madake (Phyllostachys bambusoides) bamboo culm and are extremely versatile instruments. Professional players can produce virtually any pitch they wish from the instrument, and play a wide repertoire of original Zen music, ensemble music with koto, biwa, and shamisen, folk music, jazz, and other modern pieces. Much of the shakuhachi's subtlety (and player's skill) lies in its rich tone colouring, and the ability for its variation. Different fingerings, embouchures and amounts of meri/kari can produce notes of the same pitch, but with subtle or dramatic differences in the tone colouring. Holes can be covered partially and pitch varied subtly or substantially by changing the blowing angle. The Honkyoku pieces rely heavily on this aspect of the instrument to enhance their subtlety and depth. Unlike a recorder, where the player blows into a duct—a narrow airway over a block which is called a "fipple"—and thus has limited pitch control, the shakuhachi player blows as one would blow across the top of an empty bottle (though the shakuhachi has a sharp edge to blow against called utaguchi) and therefore has substantial pitch control. The term utaguchi 歌口 literally translates as "to the mouth that sings", referring to the upper and main hole of the flute where the mouthpiece or blowing edge is created by a natural diagonal cut in the bamboo

This is a Japanese Traditional Hand Made Shakuhachi in the Key of A , from the Tozan school The Shakuhachi is a Japanese longitudinal, end-blown flute that is made of bamboo. The bamboo end-blown flute now known as the shakuhachi was developed in Japan in the 16th century and is called the fuke shakuhachi 普化尺八 Shakuhachi are usually made from the root end of madake (Phyllostachys bambusoides) bamboo culm and are extremely versatile instruments. Professional players can produce virtually any pitch they wish from the instrument, and play a wide repertoire of original Zen music, ensemble music with koto, biwa, and shamisen, folk music, jazz, and other modern pieces. Much of the shakuhachi's subtlety (and player's skill) lies in its rich tone colouring, and the ability for its variation. Different fingerings, embouchures and amounts of meri/kari can produce notes of the same pitch, but with subtle or dramatic differences in the tone colouring. Holes can be covered partially and pitch varied subtly or substantially by changing the blowing angle. The Honkyoku pieces rely heavily on this aspect of the instrument to enhance their subtlety and depth. Unlike a recorder, where the player blows into a duct—a narrow airway over a block which is called a "fipple"—and thus has limited pitch control, the shakuhachi player blows as one would blow across the top of an empty bottle (though the shakuhachi has a sharp edge to blow against called utaguchi) and therefore has substantial pitch control. The term utaguchi 歌口 literally translates as "to the mouth that sings", referring to the upper and main hole of the flute where the mouthpiece or blowing edge is created by a natural diagonal cut in the bamboo